Cannonball Adderley - Saxophonist - Biography.com Cannonball Adderley Jazz musician Cannonball Adderley was an alto saxophonist renowned for performances with his own band as well as with Miles Davis and John Coltrane. IN THESE GROUPS Famous People Born in Tampa Synopsis Jazz musician Cannonball Adderley was born Julian Edwin Adderley in Tampa, Florida, on September 15, 1928. He attended the U.S. Navy School of Music before moving to New York City in the 1950s. He eventually played alto sax with John Coltrane and Miles Davis , drawing comparisons to his idol, Charlie Parker . Critics and audiences alike adored Adderley’s upbeat, quicksilver-fast sounds, and his plethora of albums included Know What I Mean? (1961) and The Soul Zodiac (1972). He died on August 8, 1975. Background and Early Years Julian Edwin “Cannonball” Adderley was born on September 15, 1928, in Tampa, Florida. He was the oldest of two boys and his father, Julian C.

Adderley, a cornet player and respected musician encouraged Cannonball and his brother, Nat, to explore their own musical interests. While Nat followed in his father’s footsteps and took up the cornet, Adderley migrated to the alto saxophone. He later learned to play tenor and soprano sax as well as the flute. At high school in Tallahassee, where his parents had moved the family when they landed teaching jobs at Florida A&M University, Adderley earned the nickname Cannonball. “When I was going to school I used to eat anything,” he later explained. “So the kids called me Cannibal. Older people didn’t get the connection so they called me Cannonball.” In 1955, when an old friend saw him perform in New York City, he called him by his hometown nickname and it remained with the saxophonist the rest of his life. Life in Jazz After high school, Adderley enrolled at Florida A&M University, where he studied brass and reed instruments. He graduated in 1948 and then remained in his home state for several years, taking a position as band director at Dillard High School in Fort Lauderdale.

But by the early 1950s Adderley had outgrown the local music scene, and in 1955 he moved to New York City with brother Nat. There, the two brothers formed the Cannonball Adderley Quintet. The same year he moved to New York City, Adderley made a splash with a cameo at a nightclub. Praise was heaped upon him for his fast-paced, upbeat style, and it wasn’t long before some of the giants of jazz came calling. Landmark Albums With Miles Davis In 1957, after the dissolution of his band, Adderley joined Miles Davis's group. Playing alongside John Coltrane, Bill Evans and others, Adderley was part of two landmark Davis albums, Milestones (1958) and Kind of Blue (1959). Adderley later collaborated with song stylist Nancy Wilson on an esteemed 1962 record. Adderley was not only one of jazz’s biggest talents, but he was also one of its fiercest defenders. The target of his ire was sometimes fellow African-Americans, who he felt too easily dismissed its importance.

“Black music has been neglected by black leaders who were striving for bourgeois values,” he once said. “Many black school officials frown on jazz. We play at 40 or 50 colleges a year where black kids dance to James Brown or Otis Redding but they don’t know what this music is.” Later Years and Death Adderley continued to release studio albums throughout the '60s and '70s. In 1975, he released his last two recordings: Phenix and Big Man: The Legend of John Henry, a grand orchestral work. He suffered a stroke on July 13, 1975, entering a coma, and died weeks later on August 8 in Gary, Indiana. He was survived by his wife, Olga James Adderley, among other family members. Having a deep love for his art, Adderley left behind a treasure trove of recordings; compilation albums of his work include Ultimate Cannonball Adderley (1999) from Verve and Ballads (2002) on Blue Note/EMI. Fact Check We strive for accuracy and fairness. If you see something that doesn't look right, contact us !

Citation Information Cannonball Adderley | American musician | Britannica.com Cannonball Adderley Alternative Title: Julian Edwin Adderley Cannonball Adderley John Coltrane Cannonball Adderley, byname of Julian Edwin Adderley (born September 15, 1928, Tampa , Florida , U.S.—died August 8, 1975, Gary , Indiana ), one of the most prominent and popular American jazz musicians of the 1950s and ’60s whose exuberant music was firmly in the bop school but which also employed the melodic sense of traditional jazz. A multi-instrumentalist, Adderley is best-known for his work on alto saxophone and for his recordings with Miles Davis and with his own small groups. Cannonball Adderley. Frank Driggs Collection/Copyright Archive Photos The son of a jazz cornetist, Adderley had directed a high school band in Fort Lauderdale , Florida, studied at the U.S. Navy School of Music, and led two army bands before moving to New York City in the mid-1950s.

In the summer of 1955, Adderley attracted attention within New York jazz circles, garnering rave reviews for his performances with bassist Oscar Pettiford at the Café Bohemia. He soon thereafter formed a quintet with his brother Nat , a noted cornetist, that met with little success—although recordings made by the group received considerable praise years later. In 1957 Adderley embarked upon an 18-month stint with trumpeter Miles Davis , which proved to be one of the most fertile and creative periods in the careers of both men. Playing in Davis’s sextet alongside saxophone legend John Coltrane , Adderley favoured a busy style that contrasted well with Davis’s spare understatement. Adderley was prominently featured on Davis’s albums Milestones (1958) and Kind of Blue (1959), both considered benchmarks of 1950s hard bop and modal jazz. Also significant was Somethin’ Else (1958), a classic album released under Adderley’s own name on which Davis was a guest player.

In 1959 Adderley again joined with brother Nat to form a quintet, this time successfully, and he continued to lead popular small groups for the remainder of his career. Adderley was first acclaimed as a stylistic heir to Charlie Parker , although the more traditional Benny Carter ’s rhythm-and-blues phrasing also inspired his music. Although his music was not regarded as particularly groundbreaking, Adderley was an extremely gifted musician technically, known for an improvisational style that featured restless, highly decorated, often florid lines; emphatic blues harmonies; and a full, rich tone. As jazz became more atonally obtuse and rhythmically complex during the 1960s, Adderley’s straightforward approach helped keep jazz popular with mainstream audiences. His was “happy music, and none the worse for that,” according to one critic. Britannica Stories A Biography of Cannonball Adderley, an American Jazz Musician | Kibin A Biography of Cannonball Adderley, an American Jazz Musician Sign Up & Access Essays Already a member? Login here Pages: 6 This preview is partially blurred. Sign up to view the full document. Sign Up & Access Essays Already a member?

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Sign up to view the full document End of preview Upgrade to view the full document On September 15 1928 Julian Edwin Adderley was born inTampa Florida and would later become known to the jazzworld as Cannonball Adderley Adderley s fiery blues-riddenjazz tunes would make him one of the greatest altosaxophonists of his generation Influenced by the greatCharlie Parker among others Adderley brought jazz to awhole new genre of people pretty much untouched by jazzbefore His popularity hit its height in the 1960 s and hecontinued to whoo crowds and critics alike well into the1990 sGrowing up as a child in Florida Adderley often foundhimself keeping himself occupied usually by playing musicalinstruments mainly the saxophone He attended school andafter high school went on to do his musical studies ofbrass and reed instruments in Tallahassee Florida from1944-1948 Cannonball While attending school he earnedthe nickname Cannibal for his extreme appetite and eatinghabits This would latter lead into Cannonball for hisferocious sax playing Following his graduation Adderleybecame a high school band director at Dillard High School inFort Lauderdale Florida He was following

 in his father sfootsteps whom he admired so much Cannonball s father wasa trumpet player and had the biggest influence over him as amusician and in his lifeIt was in 1955 that Adderley got his break in themusic world Already having an established career inFlorida he was persuaded by the legendary saxophonist andRB singer Eddie Cleanhead Vinson to take a trip to NewYork Originally wanting to pursue graduate studies it washere he was coerced into playing a sit in position withOscar Pettiford s group at the Caf Bohemia Miton Overthe course of a ninety-minute set Adderley created such asensation that his playing was talked about for weeks Infact he created such a stir that within a matter of weekshe had signed with Savoy Records and began playing some jazzthat is among the greatest jazz ever playedIn the Army Adderley was the director of the band aswell as the leader of his own jazz quartet in Florida sohe was no stranger to the @Kibin is a lifesaver for my essay right now!!

- Sandra Slivka, student @ UC Berkeley Wow, this is the best essay help I've ever received! - Camvu Pham, student @ U of M If I'd known about @Kibin in college, I would have gotten much more sleep - Jen Soust, alumni @ UCLA 5 Top Cannonball Adderley albums - AXS 5 Top Cannonball Adderley albums By: Teresa Myers AXS Contributor May 22, 2016 3924461 486367 16541761 6 y2016m05d22 84764 Anthony Valente's Jazz Channel Cannonball Adderley was born Julian Edwin Adderley on September 15, 1928 and died August 8, 1975. During his lifetime he was well-known as a jazz alto saxophonist of the hard bop era of the 1950s and 1960s. Cannonball was the brother of jazz cornetist Nat Adderley, a longtime member of his band.

With deep roots in Florida, originating from Tampa, Adderley’s nickname derived from “cannibal" by his high school chums as a tribute to his voracious appetite and of course that became Cannonball. Adderley moved to Tallahassee when his parents obtained teaching positions at Florida A&M University. Both Cannonball and brother Nat played with Ray Charles when Charles lived in Tallahassee during the early 1940s. Adderley moved to Broward County, Florida, in 1948 after finishing his music studies at Tallahassee and became the band director at Dillard High School in Fort Lauderdale. Cannonball was a local legend in Southeast Florida until he moved to New York City in 1955. An album is a set of musical recordings that are issued together by a single artist or group. Listed below are five top albums of Cannonball Adderley, “Jazz alto saxophonist extraordinaire.” 1. Mercy, Mercy, Mercy! Live at 'The Club' Mercy, Mercy, Mercy! Live at 'The Club' is a 1966 album by jazz musician Julian "Cannonball" Adderley.

It received the Grammy Award for Best Instrumental Jazz Performance – Group or Soloist with Group in 1967. The title track from this album "Hippodelphia” became a surprise hit, reaching No. 11 on the Billboard charts. The title track has been covered numerous times (usually with lyrics added), perhaps most successfully by The Buckinghams in 1967. The Allmusic review awarded the album 5 stars and stated: "Adderley's irrepressible exuberance was a major part of his popularity, and no document captures that quality as well -- or with such tremendous musical rewards -- as Mercy, Mercy, Mercy." The Penguin Guide to Jazz awarded the album 3 out of 4 stars, stating: "Mercy, Mercy, Mercy” is a hard swinging live album with one of Cannon's hottest outings on 'Sticks.' 2.

Cannonball Adderley's Fiddler on the Roof Cannonball Adderley's Fiddler on the Roof is an album by Adderley released on the Capitol label featuring performances of material from the Broadway musical Fiddler on the Roof by Adderley with Nat Adderley, Charles Lloyd, Joe Zawinul, Sam Jones and Louis Hayes. The Allmusic review by Scott Yanow and Tim Sendra awarded the album 4 stars and states "Cannonball plays near his peak; this is certainly the finest album by this particular sextet". 3. The Cannonball Adderley Sextet in New York The Cannonball Adderley Sextet in New York is a live album recorded at the Village Vanguard and released on the Riverside label featuring performances by Adderley with Nat Adderley, Yusef Lateef, Joe Zawinul, Sam Jones and Louis Hayes. The Allmusic review by Richard S.

Ginell awarded the album 4 stars noting "This was the recording debut of the Adderley Sextet, with Cannonball waxing eloquently and swingingly on alto, brother Nat charging ahead on cornet, and the versatile Yusef Lateef (who had joined the band only three weeks earlier) adding a bit of an edge on tenor, flute, and unusually for a jazz wind player, oboe on the odd, dirge-like "Syn-Anthesia." The Penguin Guide to Jazz awarded the album 2½ stars stating "'Bringing in Joe Zawinul and Yusef Lateef energized the band anew". When reissued in 2008 All About Jazz called the album "perhaps the single most indispensable recording by the Adderley Brothers" 4. Money in the Pocket Money in the Pocket is a live album by jazz saxophonist Cannonball Adderley featuring performances by Adderley with Nat Adderley, Joe Zawinul, Herbie Lewis and Roy McCurdy. Recorded at The Club in Chicago in 1966, it was not released on the Capitol label until 2005.

The Allmusic review by Al Campbell awarded the album 4 stars and states "Cannonball Adderley's mega-successful album Mercy, Mercy, Mercy!, released in August of 1966, was supposedly recorded "live" at a venue in Chicago called The Club, but it was actually recorded in the studio of Capitol Records with a specially assembled audience. 5. The Black Messiah The Black Messiah is a live album recorded at The Troubadour in Los Angeles, California in 1970 featuring performances by Adderley's Quintet with Nat Adderley, George Duke, Walter Booker and Roy McCurdy with guest appearances by Airto Moreira, Mike Deasy, Ernie Watts, Alvin Batiste, and Buck Clarke. After many years of being out of print, The Black Messiah was reissued in 2014 by Real Gone Music; the new 2CD reissue included liner notes by music journalist/blogger Bill Kopp. The Allmusic review by Richard S.

Ginell awarded the album 4 stars and stated: "Still immersed in the burgeoning electronic jazz-rock explosion of the times, Cannonball Adderley goes further toward a rapprochement with the rock and soul audiences than ever before on this fascinating, overlooked double album.” Cannonball Adderley is well remembered for his 1966 single "Mercy, Mercy, Mercy" , a crossover hit on the pop charts. Source: Wikipedia Discography, Bio Black Kudos • Cannonball Adderley Julian Edwin “Cannonball”... Zoom Cannonball Adderley Julian Edwin “Cannonball” Adderley (September 15, 1928 – August 8, 1975) was a jazz alto saxophonist of the hard bop era of the 1950s and 1960s. Adderley is remembered for his 1966 single “Mercy Mercy Mercy”, a crossover hit on the pop charts, and for his work with trumpeter Miles Davis, including on the epochal album Kind of Blue (1959). He was the brother of jazz cornetist Nat Adderley, a longtime member of his band.

Early life and career Originally from Tampa, Florida, Adderley moved to New York in 1955. His nickname derived from “cannibal”, a title imposed on him by high school colleagues as a tribute to his voracious appetite. Cannonball moved to Tallahassee, Florida, when his parents obtained teaching positions at Florida A&M University. Both Cannonball and brother Nat played with Ray Charles when Charles lived in Tallahassee during the early 1940s. Adderley moved to Broward County, Florida, in 1948 after finishing his music studies at Tallahassee and became the band director at Dillard High School in Fort Lauderdale, Florida, a position which he held until 1950. Cannonball was a local legend in Southeast Florida until he moved to New York City in 1955. One of his known addresses in New York Corona, Queens. He left Florida originally to seek graduate studies at New York conservatories, but one night in 1955 he brought his saxophone with him to the Cafe Bohemia.

Asked to sit in with Oscar Pettiford in place of his band’s regular saxophonist, who was late for the gig, the “buzz” on the New York Jazz scene after Adderley’s performance announced him as the heir to the mantle of Charlie Parker. Adderley formed his own group with his brother Nat after signing onto the Savoy jazz label in 1957. He was noticed by Miles Davis, and it was because of his blues-rooted alto saxophone that Davis asked him to play with his group. He joined the Davis band in October of 1957, three months prior to the return of John Coltrane to the group. Adderley played on the seminal Davis recordsMilestones and Kind of Blue. This period also overlapped with pianist Bill Evans’ time with the sextet, an association that led to recording Portrait of Cannonball and Know What I Mean?. His interest as an educator carried over to his recordings. In 1961, Cannonball narrated The Child’s Introduction to Jazz, released on Riverside Records. Band leader The Cannonball Adderley Quintet featured Cannonball on alto sax and his brother Nat Adderley on cornet.

Cannonball’s first quintet was not very successful; however, after leaving Davis’ group, he formed another, again with his brother, which enjoyed more success. The new quintet, which later became the Cannonball Adderley Sextet, and Cannonball’s other combos and groups, included such noted musicians as saxophonists Charles Lloyd and Yusef Lateef, pianists Bobby Timmons, Victor Feldman, Joe Zawinul, Hal Galper, Michael Wolff, and George Duke, bassists Ray Brown, Sam Jones, Walter Booker, and Victor Gaskin, and drummers Louis Hayes and Roy McCurdy. Later life By the end of the 1960s, Adderley’s playing began to reflect the influence of the electric jazz, avant-garde, and Davis’ experiments on the album Bitches Brew. On his albums from this period, such as Accent on Africa (1968) and The Price You Got to Pay to Be Free(1970), he began doubling on soprano saxophone, showing the influence of Coltrane and Wayne Shorter.

In that same year, his quintet appeared at the Monterey Jazz Festival in California, and a brief scene of that performance was featured in the 1971 psychological thriller Play Misty for Me, starring Clint Eastwood. In 1975 he also appeared, in an acting role alongside Jose Feliciano and David Carradine, in the episode “Battle Hymn” in the third season of the TV series Kung Fu. Songs made famous by Adderley and his bands include “This Here” (written by Bobby Timmons), “The Jive Samba”, “Work Song” (written by Nat Adderley), “Mercy, Mercy, Mercy” (written by Joe Zawinul) and “Walk Tall” (written by Zawinul, Marrow and Rein). A cover version of Pops Staples’ “Why (Am I Treated So Bad)?” also entered the charts. His instrumental “Sack o’ Woe” was covered by Manfred Mann on their debut album.

Adderley was initiated as an honorary member of Phi Mu Alpha Sinfonia fraternity (Gamma Theta chapter, University of North Texas, ‘60, & Xi Omega chapter, Frostburg State University, '70) and Alpha Phi Alpha (Beta Nu chapter, Florida A&M University). Adderley died of a cerebral hemorrhage in 1975 as a result of severe migraine. He was buried in the Southside Cemetery, Tallahassee, Florida, and later that year he was inducted into the Down Beat Jazz Hall of Fame. Joe Zawinul’s composition “Cannon Ball” on Black Market is a tribute to his former leader. Pepper Adams and George Mraz dedicated the composition “Julian” on the 1975 Pepper Adams album of the same name days after Cannonball’s death. Julian "Cannonball" Adderley @ All About Jazz Read more Both as the leader of his own bands as well as an alto and soprano saxophone stylist, Julian Edwin Cannonball Adderley was one of the progenitors of the swinging, rhythmically robust style of music that became known as hard-bop.

Born September 15, 1928, into a musical family in Florida, Adderley was drafted into the U.S. Army in 1950. He became leader of the 36th Army Dance Band, led his own band while studying music at the U.S. Naval Academy and then led an army band while stationed at Fort Knox, Kentucky. Originally nicknamed Cannibal in high school for his voracious appetite, the nickname mutated into Cannonball and stuck. In 1955, Adderley traveled to New York City with his younger brother and lifelong musical partner, Nat Jr. (cornet). The elder Adderley sat in on a club date with bassist Oscar Pettiford and created such a furvor that he was signed almost immediately to a recording contract and was often (if not entirely accurately) called the new Bird. Adderley's direct style on alto was indebted to the biting clarity of Charlie Parker, but it also significantly drew from the warm, rounded tones of Benny Carter; hard swingers such as Louis Jordan and Eddie Cleanhead Vinson were important influences as well.

Adderly became a seminal influence on the hard-driving style known as hard-bop, and could swing ferociously at faster tempos, yet he was also an effective and soulful ballad stylist. From 1956-57, Adderley led his own band featuring Nat, pianist Junior Mance and bassist Sam Jones. The group broke up when he was invited to join the Miles Davis Quintet in 1957. Davis expanded his group to a Sextet soon thereafter by hiring saxophonist John Coltrane. I felt that Cannonball's blues-rooted alto sax up against Trane's harmonic, chordal way of playing, his more free-form approach, would create a new kind of feeling, Davis explained in his autobiography. From 1957-59, Adderley recorded some of his best work on the landmark Davis albums Milestones and Kind of Blue within this sextet. Davis reciprocated with a guest appearance on Adderly's 1958 solo album Somethin' Else, which also included bassist Jones, pianist Hank Jones, and drummer Art Blakey.

Adderley left the Davis band to reform his quintet in 1959, this time with his brother, Sam Jones, pianist Bobby Timmons and drummer Louis Hayes. Yusef Lateef made it a sextet around 1962; pianist Joe Zawinul replaced Timmons around 1963. Other band alumni include Charles Lloyd, and pianists Barry Harris, Victor Feldman and George Duke. Adderley recorded for Riverside from 1959-63, for Capitol thereafter until 1973, and then for Fantasy. He suffered a stroke while on tour and died on August 8, 1975. He can also be found on recordings led by Bill Evans, John Coltrane, Wes Montgomery, Art Blakey and Oscar Peterson, and collaborated with singers Sarah Vaughan, Dinah Washington, Joe Williams, Lou Rawls, Sergio Mendes and Nancy Wilson.

During the period when the burgeoning development of polyrhythms and polytonality threatened to make jazz harder for non-musicians to appreciate, the Cannonball Adderley bands (much like bands led by Art Blakey and Horace Silver) helped preserve the music's roots in the more readily understood (and more funky) vocabulary of gospel and blues. Cannonball Adderley | Biography, Albums, Streaming Links | AllMusic Cannonball Adderley Biography by Scott Yanow His blues-soaked tone and swinging delivery on alto sax made him one of the most successful proponents of soul jazz. Cannonball Adderley Essay Examples | Kibin Cannonball Adderley Essay Examples A Biography of Cannonball Adderley, an American Jazz Musician On September 15, 1928, Julian Edwin Adderley was born in Tampa, Florida and would later become known to the jazz world as Cannonball Adderley. Adderley s fiery, blues-ridden jazz tunes would make him one of the greatest alto saxophonists of his generation. Influenced by the great Charlie Parker among others, Adderley b...

1,050 words 2 pages An Analysis of the Muddle in a Puddle and a Comparison of Essay To My Life "Muddle In A Puddle": Comparison of Essay To My Life While reading the essay "Muddle in a Puddle," some very colorful images came to my mind about what I have done in my life that compare to this particular piece. Of all the times I have embarrassed myself by sticking my foot in my mouth, or by maki... 808 words An Introduction to the Life of Adderley an American Athlete While with Davis, Adderley grew as a player. He learned a lot from Miles about the use of space, and his solos became more sparing and direct. In 1958 he released the album Somethin' Else, working with Davis and Art Blakey and recording classic renditions of "Autumn Leaves" and "Love For Sale". The follo...

417 words Cannonball Adderley facts, information, pictures | Encyclopedia.com articles about Cannonball Adderley Sources From his earliest appearance on the New York jazz scene in 1955, alto saxophonist Julian “Cannon-ball” Adderley remained at the forefront of the jazz world—his blues-based tone, Charlie Parker-inspired modernist concepts, and African American religious themes helping to define several of the jazz trends of the postwar era. Paired with the tenor saxophone of John Coltrane in Miles Davis ’s quintet during the late 1950s, Adderley emerged as a major exponent of hard bop, or what became known as soul jazz. As leader of his own group, Adderley landed two top-selling hits in the 1970s. During his 20-year career as a nationally known talent, Adderley maintained a remarkable devotion to his music and made great strides in the education and preservation of jazz as an American art form. Son of a jazz cornetist, Julian Edwin Adderley was born on September 15, 1928, in Tampa , Florida .

He took up the saxophone at age 14 and two years later, while completing his high school studies, fronted his own band at professional engagements. Originally nicknamed “Cannibal” by high school friends for his voracious appetite, Adderley’s sobriquet later evolved into Cannonball. Attending Florida A&M University, he became proficient on trumpet and numerous reed instruments. In 1948 he began a stint as a teacher at Dillard High School in Fort Lauderdale , a job he held intermittently until 1956. The New York Scene Drafted into the army in 1950, Sergeant Adderley became leader of the 36th Army Dance Band. Among the members of the 36th Army Band were jazz greats like trombonist Curtis Fuller, pianist Junior Mance, and Adderley’s younger brother Nat, a cornetist. As Nat Adderley recalled in Down Beat, “Cannonball made some arrangement with the General, so basically all we ever played was dance music and we did very little with the marching band.

We played with it on some official functions but other than that we worked with the normal big band of jazz groups.” Living in Washington, D. C., Adderley studied music at Maryland ’s U.S. Naval Academy, and from 1952 to 1953 led an army band at Fort Knox, Kentucky . Prompted by jump blues saxophonist Eddie “Clean-head” Vinson, Adderley and his brother traveled to New York City in 1955. The unknown Adderley soon sat in with the band of bassist Oscar Pettiford at the popular Greenwich Village club Cafe Bohemia . Allowed to take the stage due to the late arrival of bandmember Jerome Richardson, Adderley underwent a fierce initiation when Pettiford called out a furiously paced version of “I’ll Remember April.” But Adderley’s study of Charlie Parker’s alto saxophone solos had prepared him for the challenges of such a breakneck tempo.

As jazz historian Leonard Feather wrote in the liner notes to Somethin’ Else, Adderley “met the challenge with a long solo that just about knocked Pettiford off the stand.” For the Record … Born Julian Edwin Adderley, September 15, 1928, in Tampa, FL; died of a stroke, August 8, 1975, in Gary, IN. Education: Attended Florida A&M University, until 1948; studied music at U.S. Naval Academy. Began professional career, c. 1944; taught at Dillard High School, Fort Lauderdale, FL, 1948-56; served as bandleader in U.S. Army, 1951-54; signed with Savoy label, 1955; led group with brother Nat, 1956-57; member of Miles Davis band 1957-59; organized second group as leader 1959. Led jazz workshops throughout this career. Member of Jazz Advisory Board of the National Endowment for the Arts.

Following Adderley’s performance at the Cafe Bohemia, he signed a contract with the Savoy label and became a regular member of Pettiford’s band. Attending the band’s performances at the club, Miles Davis often sat and watched the 262-pound alto saxophonist perform. “Everybody knew right away that [Cannonball] was one of the best players around,” Davis said in his autobiography, Miles. “Even white critics were raving about his playing. All the record labels were running after him. Man, he was hot that quick.” To the astonishment of many musicians, Adderley returned to his teaching job in the fall of 1955. But rave reviews and an increasing demand for his presence in New York encouraged Adderley to return to the city in 1956 and form his own quintet with his brother Nat, pianist Junior Mance, and bassist Sam Jones. Plagued by financial difficulties, however, the group disbanded in the fall of the 1957. With Miles Davis Quintet In October of 1957, Adderley replaced Belgian saxophonist Bobby Jaspar in the Miles Davis Quintet.

Davis recalled his early interest in Adderley’s musicianship in Miles, remarking, “I could almost hear him playing in my group the first time I heard him. He had that blues thing and I love me some blues.” Adderley remembered, as quoted in the book Milestones, “I had gotten an offer from [trumpeter] Dizzy [Gillespie] to go with his small band. I was opposite Miles at the Bohemia, told him I was going to join Dizzy, and Miles asked me why I didn’t join him. I told him he never asked me.” After a few months, Miles hired Adderley and took him on the Jazz for Moderns tour. Soon afterward, Davis expanded his group to a sextet, bringing together the saxophones of Adderley and John Coltrane.

As Davis explained in Miles, “I felt that Cannonball’s blues-rooted alto sax up against Trane’s harmonic, chordal way of playing, his more free-form approach, would create a new kind of feeling.” For two years the saxophones of Adderley and Coltrane, backed by the drums of “Philly” Joe Jones and the bass of Paul Chambers, fueled the creative fire of Davis’s group, producing a number of brilliant recordings such as Milestones in 1958 and Kind of Blue in 1959, the latter featuring the jazz classics “So What” and “All Blues.” In March of 1958, Davis made a rare guest appearance on Adderley’s critically acclaimed solo album Somethin’ Else— a session that also showcased the talents of pianist Hank Jones, bassist Sam Jones, and drummer Art Blakey. Reflecting on his experience with Davis’s group, Adderley was quoted as saying in Miles: A Biography, “I learned a lot with him. About spacing for one thing, when playing solos. Also he’s the master of understatement.

And he taught me a lot about chords, as Coltrane did too.” In September 1959, Adderley left Davis’s group to reform his quintet, reuniting Nat and bassist Sam Jones, along with pianist Bobby Timmons and drummer Louis Hayes. The quintet played hard bop, which, unlike the cool jazz sound of the West Coast, wrote Dizzy Gillespie in To Be or Not to Bop, “reasserted the primacy of rhythm and the blues in our music and made you get funky with sweat to play it.” Hard bop, Gillespie added, “with its more earthy, churchy sound drew a lot of new black fans to our music.” David Rosenthal, in his book Hard Bop, wrote that “without renouncing Be bop’s discoveries, [hard bop] won broad popular appeal, reestablishing jazz as a staple product on ghetto jukeboxes. With the popularity of the hard bop sound, Adderley’s group achieved instant success. His ensemble attracted a number of first-rate musicians, including Austrian-born pianist Joe Zawinul, who joined the band in September 1961.

The presence of Zawinul in turn enticed saxophonist/flutist Yusef Lateef to join Adderley, which expanded the group to a sextet. “We did nothing but work 46-47 weeks a year,” recalled Zawinul in Down Beat, “often under the best circumstances. A lot of the time we really had fantastic fun.” In the liner notes to the 1963 album The Cannonball Adderley Sextet in New York, noted jazz producer Orrin Keepnews wrote, “The saga of Cannonball Adderley’s band … has unquestionably been one of the most dazzling success stories in modern jazz history.” Unlike many jazz groups of the decade, Adderley’s ensemble scored radio hits, with Zawinul’s compositions “Mercy Mercy Mercy” in 1967 and “Country Preacher” in 1969. During this time, Adderley also collaborated with singers Nancy Wilson, Lou Rawls, and Sergio Mendes. Slowed down in the Seventies Though afflicted by diabetes, Adderley continued to perform live and appear at jazz workshops throughout the 1970s.

These seminars consisted of demonstrations and lectures pertaining to both the musical and sociological aspects of jazz. In 1970 Zawinul left the group and was replaced by keyboardist George Duke. In tribute to his ten-year stay with Adderley, Zawinul told Down Beat, “The parting with Cannon is friendly. I’ll love him forever. It’s been a beautiful association.” The death of Cannonball Adderley from a stroke on August 8, 1975, ended the career of a brilliant musician who left an indelible mark on the postwar jazz community. On Adderley’s death, Dan Morgenstern wrote in Down Beat that the alto master was a “man whose horizon extended beyond musical matters. Cannonball was active in civil rights and support for the arts.” Adderley’s contributions to the Reverend Jesse Jackson’s Operation Bread Basket and as a member of the Jazz Advisory Board of the National Endowment for the Arts reflected his commitment to the role of art and artists in social change. “Cannonball was a great artist,” commented Zawinul in Down Beat. “I never knew a musician who knew so much about different subjects.

He always read Time and Newsweek, and he could discuss everything from heart surgery to politics. Cannon had more worldly wisdom than any musician I ever met.” This world vision and a true passion for music made Cannonball Adderley an educator of the human experience and a heralded genius during his lifetime and beyond. Presenting Cannonball Adderley, Savoy, 1955. Somethin’ Else, Blue Note, 1958. The Cannonball Adderley Quintet in San Francisco , Riverside, 1959. Cannonball Adderley in Chicago , Mercury, 1959. Cannonball’s Shooters, Mercury. Cannonball: Jump for Joy, Mercury. At the Lighthouse, Riverside, 1960. Them Dirty Blues, Riverside, 1960. African Waltz, Riverside, 1961. Things Are Getting Better—with Milt Jackson, Riverside. Cannonball Adderley Quintet Plus, Riverside. Cannonball Adderley The Poll Winners, Riverside. The Cannonball Adderley Sextet in New York, Riverside, 1963. Live Session!

Cannonball Adderley with the New Exciting Voice of Ernie Andrews, Capitol, 1964. Mercy, Mercy, Mercy! Live at the “Club,” Capitol, 1966. Country Preacher, Capitol, 1969. The Best of Cannonball Adderley: The Capitol Years, Capitol, 1990. With Miles Davis Miles and Monk at Newport, Columbia, 1958. Jazz at the Plaza, Columbia, 1958. Kind of Blue, Columbia, 1959. Books Carr, Ian, Miles: A Biography, William & Morrow, 1982. Chambers, Jack, Milestones 1: The Music and Times of Miles Davis to 1960, William & Morrow, 1984. Gillespie, Dizzy, To Be or Not to Bop: Memoirs, Doubleday, 1979. Davis, Miles, with Quincy Troupe, Miles: The Autobiography, Simon & Schuster, 1990. Hentoff, Nat, Jazz Is, Limelight Editions, 1984.

Milestones: The Music and Times of Miles Davis, William & Morrow, 1984. Rosenthal, David, Hard Bop: Jazz and Black Music 1955-1965, Oxford University Press, 1992. Periodicals Down Beat, January 8,1970; September 11,1970; December 10,1970; October 28,1971; October 9,1975; June 15, 1978. Jazz Journal International, May 1988. Additional information for this profile was obtained from liner notes by Leonard Feather to Somethin’ Else, Blue Note, 1959, and by Orrin Keepnews to Cannonball Adderley Sextet in New York, Riverside, 1963. —John Cohassey Cannonball Adderley - Music on Google Play Cannonball Adderley About the artist Julian Edwin "Cannonball" Adderley was a jazz alto saxophonist of the hard bop era of the 1950s and 1960s.

Adderley is remembered for his 1966 single "Mercy, Mercy, Mercy", a crossover hit on the pop charts, and for his work with trumpeter Miles Davis, including on the epochal album Kind of Blue. He was the brother of jazz cornetist Nat Adderley, a longtime member of his band. 1 $7.92 Pyramid is an album by jazz saxophonist Cannonball Adderley recorded at Fantasy Studios in Berkeley, California in 1974 featuring performances by Adderley's Quintet with Nat Adderley, Hal Galper, W... 1 1 $7.99 Inside Straight is a live album by jazz saxophonist Cannonball Adderley recorded at the Fantasy Studios in Berkeley, California in 1973 featuring performances by Adderley's Quintet with Nat Adderle... 1 1 $7.74 Mercy, Mercy, Mercy! Live at 'The Club' is a 1966 album by jazz musician Julian "Cannonball" Adderley. It received the Grammy Award for Best Instrumental Jazz Performance – Group or Soloist with Gr...

1 1 $9.49 Nippon Soul is a live album by jazz saxophonist Cannonball Adderley recorded at the Sankei Hall in Tokyo during his 1963 Japanese tour and released on the Riverside label featuring performances by ... 1 1 $5.99 Nancy Wilson/Cannonball Adderley is a 1961 studio album by Nancy Wilson with Cannonball Adderley and his quintet. Wilson considered her vocals on the album "as a sort of easy-going third horn". All... 1 1 $9.49 Know What I Mean? is a 1962 album by jazz musician Julian "Cannonball" Adderley, accompanied by Bill Evans and the rhythm section of the Modern Jazz Quartet. It was released on Riverside label as R... 1 1 $9.49 Know What I Mean? is a 1962 album by jazz musician Julian "Cannonball" Adderley, accompanied by Bill Evans and the rhythm section of the Modern Jazz Quartet. It was released on Riverside label as R... 1 1 $9.49 Know What I Mean?

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Question: Jazz musician Julian Edwin Adderley was usually known as '........... (what) Adderley'?
Answer: 'CANNONBALL'